I love The Buzzcocks. I’ve loved them since the day in high school when I took a flyer on Singles Going Steady. The fast rush of that midrangey twin-guitar attack, Pete Shelley’s concise way with words…you know what I’m talking about. I will have to say, for a guy whose band has covered a handful of these songs over the years, I’ve always been a bit mystified by the role of drummer John Maher.
For years I thought he was the weak link in the band. Then, one night while standing precisely in the “sweet spot” of my drummer friend Townsman Sethro’s kick-ass stereo system, I began thinking that he was really great. Since then, I find myself creeping back to the thought that I’m not really thrilled about his drumming.
I’m certain of a few things:
- He doesn’t play in “my” style.
- He never drags the band down, which is a great strength; in fact, he drives the songs with the pedal to the metal, which may be his greatest strength.
- Beside the opening fill to “I Don’t Mind” and maybe a few fills during the great, long jam in “Why Can’t I Touch It”, I think his fills sound sloppy and overplayed
To this last point, when we discussed the drumming of Bev Bevan a couple of weeks back, Townsman Andyr said something to the effect of “His fills are never memorable – they don’t make me want to play air drums.” Because of the pace of Maher’s drumming, I sometimes “play along,” but it’s more like the spastic hambone of a child with ADHD.
Over the years, I’ve come to the tentative conclusion that love him or not, John Maher’s drumming perfectly suited the music of The Buzzcocks, but could he have done better?
So I ask, is there a drummer in the house? And I ask whether any drummers in the house can more fully explain the merits of John Maher’s drumming in The Buzzcocks. I also ask whether I am correct in identifying some of his weaknesses. And, finally, I ask whether the music of The Buzzcocks could have been better supported by another type of drummer. Feel free to give it to me good, but responses along the lines of “Jesus Christ, Mr. Moderator, must you pick apart everything that is beautiful and great in the world?” will not be tolerated. Not in this game. I seek education and enlightenment.
I look forward to your responses.
As a drummer, I’m surprised that I’ve never sat and thought too much about this guy. When I think of the Buzzcocks I think of the guitars and the vocal delivery. The drums are secondary. But maybe that is his strength. He sits back, propels the band along without getting in the way.
First off, How can Sethro‘s stereo be good? It doesn’t have an effin treble or bass controls to crank up?
I love Maher’s style. It is completely unique and totally works for the Buzzcocks. I think the key to understanding him is that he treats the snare like a ride cymbal. And he is fast. he can really get around on his tom fills. Also, a very solid foot. All in all, I think he’s a very good drummer.
I like what we’re getting so far: a comment from a real drummer and a comment from a wannabe drummer, Keep these coming! You guys get it.
I’m surprised that you love Maher’s fills, A-Dogg. He does get back to the beat in time, but I think the thing that confused me about him is that his parts aren’t that segmented. As you know, I like my segmented builds. Maher seems to keep the action going without a master plan. I get a little bit afraid as a listener. Think of the more fluid drummers whose styles we’ve studied and broken down over the years: Topper Headon, Pete Thomas… They add their personal touch with the best of them, but there’s a clear progression in their “reads”; they pace their attack over the course of the song. Could you live with a John Maher behind the skins?
Not noticing the drummer can be a good thing. A friend of mine used to be a wannabe drummer (he still has a very nice Tama kit in his attic). When we’d go see a band play, he was known to complain if they didn’t “feature the drummer.” This got to be a running joke between us, because I thought that in general featuring the drummer was an horrendous practice.
If I force myself to listen to John Maher, I notice that he’s actually playing slightly ahead of the beat, i.e., the opposite of what drummers are traditionally supposed to do. I think this is what some critics used to call “forcebeat,” and it lends a sense of urgency to the material.
But that’s the point — I have to make myself listen to individual elements of a Buzzcocks record. What’s great about them is that they’re all about the song, and the individual elements are all blended into a perfect whole.
I could live with it, after all I’m the heathen bass player who uses a pick. I don’t think he’s inconsistent in what he’s doing, it would be a matter of adjusting. Actually, I think you’d end up playing more notes to not leaving him hanging out there on his own, which is kinda what Diggle does on the bass.
I keep hearing the Emporer Joseph in your approach – “too many notes”. He doesn’t give you that little space to breathe before coming back to the verse structure. I think the whole band is often frenetic and he’s appropriately quick on these tunes. He could play straight up/no fills and the song would probably not suffer, but then he would become the grounding force in songs and let the listener up for air. That is a cop-out. I don’t see him standing out by playing more, in the same way Mitch Mitchell’s fabulous work in the Experience will never overshadow Jimi but does give him a worthy comrade in chops. The examples you’ve chosen remind me a bit of some of Knack drummer Bruce Gary’s work. But the busy fills in those songs help you forget the stupid words that have just been sung, so there’s not quite the parallel otherwise.
Copping that bass part in What Do I Get? has always been a hurdle for me. Man, It’s a clambake every time I try that one. Right up there with Lipstick Vogue for knocking me down a peg or eight.
Hey, having little to do with this particular thread but much to do with Pete Shelley, I heard some song by LCD Soundsystem this morning called “North Americans”, or something like that. It was pretty good, and many of the best parts were copped from “Homosapiens”. Anyone else know this LCD Soundsystem song?
Come on, drummers, there’s only so much time left to address this issue!
As a rock ‘n’ roll drummer myself, I personally think that Maher’s drumming is completely appropriate and brilliant!!! He’s the only drummer that I’ve ever heard that can play stuff that sounds completely spontaneous, out of control, herky-jerky, and even a bit offbeat… but when you listen carefully it is all totally planned out and all totally on the beat but just sounds completely off at the same time! And he pulls it off with style. The drumming is nervous and anxious and dangerous but yet all magically in time… and what kind of drumming could better serve the high-pitched voice of Pete Shelley, who is delivering lyrics filled with heartbreak, angst, and sexual tension all at the same time anyways??? Fucking genius.
Welcome aboard, Jonny! I’ll take stock in your argument. The way you put it, I find myself moving back toward that “sweet spot.”
May the registration rolls stay open to drummers!. I’m fascinated and confused by these essential creatures.
Hey, having little to do with this particular thread but much to do with Pete Shelley, I heard some song by LCD Soundsystem this morning called “North Americans”, or something like that. It was pretty good, and many of the best parts were copped from “Homosapiens”. Anyone else know this LCD Soundsystem song?
As I’ve been listening to the new LCD Soundsystem album Sound of Silver for the past few months now, I’ve gotten to know it quite well. It’s actually called “North American Scum”. Believe it or not, it’s not even one of the album’s best tracks, though it’s quite brilliant in its own right like the rest of that album. I will say that I never thought about the connection with “Homosapien” but now that I think about it I can sort of see what you mean.
just saw this. i was googling about John Maher to see if anyone had written about him.
I’ve loved his drumming since I first heard the Buzzcocks 25 yrs ago. Fantastic energy in his drumming, and I noticed his drumming as soon as I listened to the buzzcocks.
His drumming on moving away from the pulsebeat is brilliant. I dont think any other punk drummers would have the ability to play the backing on that track.